While celebrity collectibles have been a good investment for years, guitars themselves have largely been overlooked. However, the guitar was perfected between the 1930s and the 1960s, depending on the model, and instruments from this period are highly regarded. Some people think that in fifty to a hundred years, guitars from the mid 20th century will be thought of in the same way as violins and cellos from the 17th and 18th century.

The appeal of any guitar grows over time, and there hasn't yet been a period when the market sank. That makes a vintage guitar a great investment choice, as well as a visually and emotionally rewarding collectible. There's nothing like being able to say that you own the guitar once played by a legend.

Values only continue to go up, too. While a 1959 Fender Sunburst Stratocaster, one of the most famous types of guitar, originally cost about $250, it brought between eight and nine thousand dollars in 1997. Today, you might have to pay seventeen thousand for a model with a slab fingerboard.

Recent stock market unpredictability has meant that people are more interested in guitar collecting. These vintage instruments are a great type of protected investment. For collectors who want to cover all the bases, consider a varied collection - acoustic, electric, exotic, antique, vintage, contemporary and even custom guitars.

Over the past couple of years the vintage guitar market has taken a hit here and there but overall has proven to be a sound investment for most. The experts say that when inflation accelerates and the dollar shrinks collectibles prove to be a good place for your money.

People are starting to realize how much these instruments from the 50's 60's, and 70's really meant to our culture.

There is a very limited supply and there still seems to be a high demand for these pieces of history which has proved to be a good choice for those who have invested in these instruments, such as the Gibson Les Pauls' and Fender Telecasters and Stratocaster's from the same era. (50's, 60, and 70's).

A good place to start collecting vintage guitars as an investment would be to focus your research on obtaining guitars from the list below. This list includes that have been inducted into Vintage Guitar Magazine’s Hall of Fame. There are, of course, other lists and other guitars worth investing in, but this is certainly a great place to begin.

In the coming weeks, I will be featuring each of the exquisite instruments in detail. This information will prove useful in your search for vintage guitars that will provide a good return on your investment.

Gibson SG Standard

Inducted in 2009
By 1960, declining sales of the Les Paul model had Gibson looking to revamp the guitar. So the company gave it a radically redesigned, much thinner (and lighter!) body intended to better compete with Fender's Strat. But the things that made up its very heart and soul - especially its humbucking pickups - remained. Today, the early-'60s version is a true classic.

Gibson Les Paul Model (Goldtop)

Inducted in 2008
Les Paul tried for years to convince Gibson it needed a solidbody in its line. Finally, Ted McCarty brought a single-cut experiment guitar to Les for his approval. Though its origianl bridge/tailpiece was far from perfect, the instrument served as Gibson's test bed through the '50s. Eventually, it reached the pinnacle among guitars and today sits among the top collectibles.

Gibson J-45

Inducted in 2007
Martin's "dreadnought" flat-tops were big and dominated the guitar market of the 1930s. By the early '40s, Gibson knew it needed a big flat-top to compete, and he J-45 ("J" for Jumbo, "45" indicating its price in dollars) was it. A 16" round-shoulded flat-top, even in the tough times of its launch, it received a very warm welcome and has ever since remained one of - if not the - most popular Gibson guitars.

Fender Jaguar

Inducted in 2006
Jumping on the speeding Fender bandwagon in 1962, it helped the company stay on top throughout the decade, with its fancy new vibrato tailpiece, sophisticated electronics, and (usually) a funky custom color. If you played instrumental rock at the time, you either had one of these or you were probably ignored!

Gibson ES-5

Inducted in 2006
One of the first guitars built after Ted McCarty took charge of Gibson, it helped solidify the company's position as the world's preeminent electric archtop maker. Today, its late-'50s variant with three PAF humbuckers and Switchmaster tone control is one of the most collectible of its ilk.

National Tri-Cone series

Inducted in 2005
Its warm, sustaining tone emanates from three aluminum "resonators" designed to help guitarists stand out in big-band or orchestra settings. But, soon after being introduced, Nationals were adopted by Hawiian and blues players. Today, the Tri-Cone produces what many consider the ultimate acoustic blues tone.

PRS Custom

Inducted in 2004
The first production instrument from a company that has become the guitar's preeminent modern success story.

Gretsch White Falcon

Inducted in 2004
Like many great guitars, it has evolved through several versions. But it has been a classic since day one, for both it sound and utterly unique aesthetic.

The 1954-'56 Gibson Les Paul Custom

Inducted in 2003
Can you say "Black Beauty?" Though Gibson didn't give it the name, Les Paul himself chose black as the secondary color for the guitar bearing his moniker. Gibson did, however, use it to experiment with a three-pickup configuration and to introduce its famed Alnico-magnet pickup.

Fender Jazzmaster

Inducted in 2002
Designed and marketed by Leo to cut into Gibson's jazz market, it supplanted the Strat at the top of Fender's line in 1958. And though its sound kept it from catching on with jazzers, garage surf bands of the day ate it up. It is one of the most copied solidbody designs of all time.

Gibson SJ-200

Inducted in 2002
A landmark amongst acoustic flattops, the SJ-200 was designed for cowboy guitarist Ray Whitley, and any cowboy worth his salt played one. Its popularity carried over to other genres, and never faded. From its jumbo-sized, sunburst-finished body to its ultra-fancy pickguard, bridge, and headstock, it was considered the consummate flat-top. Just ask Emmylou!

Gibson ES-150

Inducted in 1999
Gibson's first electric Spanish guitar was also the first good-quality electric to hit the market. Favored by Charlie Christian, it housed Gibson's first pickup, which is still in high demand and considered a classic.

Martin D-45

Inducted in 1998
Originally the fanciest of Martin's innovative dreadnought line. If you had one of the 96 made in the 1930s and early '40s, your net worth would be considerably higher than it is now.

Rickenbacker 360/12

Inducted in 1997
It was good enough for George Harrison and gave us the "jingle jangle" of Roger McGuinn. That's more than enough for the 360/12 to be the only 12-string in the VG HoF.

Gibson Flying V

Inducted in 1996
One of the most distinct guitar designs ever created, but it wasn't a hit when it came out in 1958. Rock and rollers discovered it the late '60s and the V still makes a unique statement today.

Gretsch 6120

Inducted in 1996
If you play rockabilly, you better have one of these! Introduced as the Chet Atkins Hollowbody in '54, the 6120 soon shed the "G" brand and western inlays of the early versions, but never lost the Western Orange finish or the cool twang.

Fender Jazz Bass

Inducted in 1995
With its two specially designed pickups, offset waist, and slimmer, narrower neck, the Jazz Bass was intended to be the more tonally diverse, slicker-playing descendant of the Precision. The fact it was available in Fender custom colors (often with matching headstock) makes it all the more cool.

Gibson L-5

Inducted in 1994
Introduced in 1922 and with a design guided by the legendary Lloyd Loar, the L-5 was the first modern archtop guitar. Initially a non-cutaway acoustic, the L-5 went through many changes, ultimately becoming a single-cutaway with two humbuckers.

D'Angelico New Yorker

Inducted in 1993
George Gruhn said of it in the March 2000 issue of Vintage Guitar, "The New Yorker is significant due to its superb quality and aesthetic artistic appeal," and is "one of the finest guitars in the history of the instrument."

Gibson Super 400

Inducted in 1993
Introduced in 1934, with its 18" body and deluxe features, the Super 400 was the largest and most expensive guitar in the Gibson line. Its influence was soon apparent in the designs of many of the great archtops built by others. Whether the earlier non-cutaway acoustic version or the later double-pickup cutaway, it remains a true work of art.

Fender Precision Bass

Inducted in 1992
The first bass in the VG Hall, and why not, it only forever revolutionized how the bass was played. One of the most innovative ideas in modern music history.

Gibson ES-335

Inducted in 1992
Born during Gibson's "golden era," the semi-hollow body ES-335 wedded archtop looks with solidbody performance. Whether it has dot inlays or blocks, it remains one of the coolest designs in guitardom.

Martin D-28

Inducted in 1991
The first acoustic in the VG Hall, the D-28 launched Martin's line of incredible big and loud dreadnoughts in 1931. The D-28 has inspired many guitarists and builders, and remains one of Martin's most popular models.

Fender Telecaster

Inducted in 1991
Leo Fender's timeless classic is about as simple as an electric guitar can be, but still has the magic to appeal to guitarists playing just about any style of music. Every guitar player has a Telecaster (or should). Along with the Strat and Les Paul, the Tele is among the most popular designs around.

Fender Stratocaster

Inducted in 1990
The VG Hall of Fame was started in 1990 and we had little doubt the Strat would be among the first instruments selected for inclusion by our readers. Three single-coils, a vibrato (usually), and that great contoured, offset-double-cutaway body. Some 50 years after its introduction, it is still one of the most popular designs.

Gibson Les Paul Standard ('Burst)

Inducted in 1990
Also an easy first-year selection, LP Standard was introduced with a sunburst finish in 1958, and the '58 to'60 models are the most valuable vintage solidbody guitars. The Les Paul Standard is a classic no matter what finish it bears.

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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Vintage Guitar magazine the market bible on all things Vintage Guitar, developed the "The 42-Guitar Index" in 1991. It tracks the ongoing values of excellent condition original pre-1970 Gibson, Fender and Martin guitars. Pre 70's because those instruments are the most valuable, however guitars from after 1970 are starting to rise steadily.

The average value of an instrument in their index for 2007 is a very healthy $19,706, and that represents a staggering 438% increase since 1991. This equates to an average of 27% compounded annually.

The bulk of that growth has occurred in the past few years. Last year alone showed an amazing 54% increase. Why the sudden and massive increase? Simple, stock is drying up and these instruments have gone underground in collections world wide.

There are three main brands of guitars that lead the pack in investing circles, Gibson, Fender and Martin, all American guitars. Gibson however leads the pack in the vintage guitar market and outranks all other vintage guitar brands in terms of increase in value over the past 20 years, slightly edging out Fender and far exceeding Martins.

As an example, an all original museum quality 1959 Gibson Les Paul Standard may soon fetch over US$500,000! This particular guitar made between 1958 to 1960 is not only rare, but is also one of the greatest sounding guitars of all time and has been used on many of the finest rock albums of all time.

Fender guitars, and in particular the custom colors models are still highly desirable instruments for both players and investors. If we take a 1962 Fiesta Red Slab Stratocaster from 1996 to 2007. In 1991 they sold for an average price of $10,650. Find one now and you will have to pay an average of $41,500 - this equates to a low of $29,000 and a high of $54,000.

Martin guitars have produced similar rises in value and make excellent investments as well, but the really big money is in the Fender and Gibson models.

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

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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Gibson B-15 Guitar (1967 - 1971)

The Gibson B-15 was introduced in 1967 and ended productions in 1970. It was named the student model.  It was made of wood and had a mahogany body, spruce top and natural finish color. The Gibson B-15 are not worth mega dollars but have steadily increased in value year after year.

Gibson B-25 Guitar (1962 - 1977)

The Gibson B-25 was introduced in 1962 had a flat top ,made of mahogany wood body , bound body and ended production in 1977 , these guitars were made in cherry sunburst color. During the same years Gibson also produced the B-25 N which was the same guitar but stands for natural finish . The B-25 are worth a little more than the b-25 n because of their cherry sunburst color .

Gibson B-25 short scale ¾  (1962 - 1968)

In 1962 to 68 Gibson also came out with the Gibson B-25 short scale version , meaning they had many of the same features as the Gibson B-25 flat top. It had a mahogany wood body, although smaller.  They were also built for students and came in sunburst color. If you come across one don’t let the size fool you they sound great.

In 1966 Gibson also introduced the Gibson B-25 N ¾  short scale. It is the same guitar as the Gibson B-25 ¾, but N stands for natural finish instead of sunburst. These guitars didn’t last long on the market, and production ended in 1968.

Gibson B-25-12 (1962 - 1977)

In 1962 introduced the B-25-6 string and the B-25 N-12 string. Both guitars had these features:
mahogany wood bound body, flat top but 12 string . The Gibson B-25 12 string guitars were made in cherry sunburst color and the B-25 N in natural).

Gibson stopped production on the B-25 - 12 string acoustic guitar in 1970, however production of the B-25-12-N kept on till 1977 ( same acoustic guitars but natural finish ).

Gibson B-45-12 (1961 - 1979)

The Gibson B-45-12 was also in production during the years 1961-1979. It was a 12 string acoustic guitar with a flat top made of mahogany wood. The 1961-62 models had round shoulders and from late 62 and on Gibson made them with square shoulders. They came in sunburst colors.

In 1963 Gibson also introduced the B-45-12-N (same guitars but in natural finish). Production ended in 1979. Vintage Price values are more or less the same as the Gibson B-45-12 (sunburst)

Gibson B-45-12 Limited Edition Reissue (1991 - 1992)

Because of the high demand, in 1991 Gibson made a limited edition reissue of the B-45-12. It was the same guitar but was built with rosewood wood on the back and sides of the body.

Because of the limited number of Gibson B-45 reissues produced, they are also considered somewhat collectible.

Vintage Guitar Price Value 2008 :
1967 - 1971 > $500 to $700 ( B-15 )
1962 - 1969 > $1000 to $1600 ( B-25 )
1970 - 1977 > $900 to $1000 ( B -25 )
1962 - 1969 > $950 to $1500 ( B-25n )
1970 - 1977 > $750 to $1000 ( B-25n )
1962 - 1968 > $700 to $1200 ( B-25 3/4 )
1962 - 1966 > $900 to $1600 ( B-25 / 12 )
1967 - 1977 > $800 to $1000 ( B-25 /12 )
1961 - 1962 > $1900 to $2300 ( B-45-12 round shoulders )
1962 - 1964 > $1700 to $2100 ( B-45-12 square shoulders )
1965 - 1969 > $1400 to 1700 ( B-45-12 )
1970 -1979 > $900 to $1100 ( B-45-12 )
1991 - 1992 > 950 to $1200 ( B-45-12 reissue )

Gibson B guitars have steadily increased in value, showing and average upward trend of 6% per year since 2000. The Gibson B-25 however, has experienced and average trend of 15%.

Prices are according to 4 guitar price guides and rounded off.